South Saturn Delta

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UNIVERSAL MUSIC COMPANY HENDRIX

f ® © 1997 Experience Hendrix, L.L.C.,

UNDER EXCLUSIVE LICENSE TO MCA RECORDS, INC.

Universal City, CA 91 608 - U.S.A. Distributed by
Universal Music & Video Distribution, Inc.
Warning: All rights reserved. Unauthorized

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Compilation Produced By Janie Hendrix, Eddie Kramer, & John McDermott;
for Experience Hendrix L.L.C.

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That Jimi Hendrix was able to generate so much creativity over the
course of four meteoric years is nothing short of remarkable.
Unable to read or write music, Hendrix used the recording
studio like no artist before him. Overflowing with new ideas,
Jimi’s desire to preserve them on magnetic tape became an
obsession. Be it hotel room demos, nightclub jam sessions
recorded on his hulking Sony or Teac open reel machine, or
formal sessions staged at Olympic, Record Plant, and his
own Electric Lady Studios, Jimi relished the security of *
having saved every single note.

South Saturn Delta assembles fifteen tracks which
encompass every incarnation of Jimi Hendrix’s recording
career — including both versions of the Jimi Hendrix
Experience, his expanded Woodstock ensemble Gypsy
Sun & Rainbows, and the Band Of Gypsys.

Alongside such lost gems as “Tax Free”, “Look Over
Yonder”, and “Pali Gap” stand previously unreleased
recordings like “Here He Comes [Lover Man]”,

“Message To The Universe” and “Midnight Lightning”. ^

From demo recordings to finished masters, the
guitarist’s wide embrace of blues, ballads, rock, R&B
and jazz is celebrated throughout the album.

To provide new insights into Hendrix's creative
process and unique approach to recording, South
Saturn Delta showcases the development of ^

signature songs like “Little Wing”, “All Along The ^

Watchtower”, and “Angel”. Others such as “Power
Of Soul” and the jazz influenced title track represent
the guitarist’s first impressive forays beyond the
frontiers of jazz and funk.

Where 1 997’s First Rays Of The New Rising Sun
reconstructed the fabled double album Jimi was
working on prior to his death in September 1970,
these fifteen diverse recordings provide a unique
window into one of the most fertile minds in the history
of popular music.

Mixed By Eddie Kramer and John
Electric Lady Studios. May 11, 1971

Guitar, Vocals: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell

Originally issued as part of Rainbow Bridge.

"Look Over Yonder” actually began as “Mr. Bad Luck”, a
Hendrix original which dated back to 1966 performances in
Greenwich Village as Jimmy James & the Blue Flames.

With the Experience, Hendrix made the song an early /

contender for Axis: Bold /4s Love. The group completed a i

version at Olympic Studios on May 4, 1967, but by the time j
production for the album had been completed in October

1967, “Mr. Bad Luck” was not included.

i

When the Experience assembled at TTG Studios in October

1968, Hendrix revived the song as “Mr, Lost Soul”. Jimi j

shaped the basic track over the course of seventeen takes, j

guiding the transformation from “Mr. Bad Luck” to “Mr. Lost j

Soul”. Take seventeen, retitled “Look Over Yonder”, was later j

remixed by Eddie Kramer, Mitch Mitchell, and John Jansen so

that it could become part of 1971’s Rainbow Bridge.

Recorded: TTG
Producer: Jimi
Engineer: Angel

October 22, 1968

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Recorded: Olympic Studios, London, October 14, 1967
Producer: Chas Chandler
Engineer: Eddie Kramer

Guitar: Jimi Hendrix
Drums: Mitch Mitchell

Previously Unreleased Recording

The origins of “Little Wing”, explained Jimi,
stretched back to his struggling tenure fronting
Jimmy James & the Blue Flames in Greenwich
Village during the summer of 1966. Hendrix later
found inspiration for the song during his time in
Monterey, California, preparing for the American
debut of the Jimi Hendrix Experience at the June
1967 Monterey Pop Festival.

When the Experience returned to Olympic Studios in
October 1967 to complete Axis: Bold As Love, Jimi
and Mitch Mitchell routined this remarkable demo.

At this stage of its development, “Little Wing” had
much of the rhythmic structure Jimi would later
successfully incorporate within the ballad “Angel.”

In the eleven days which separate this recording and
the October 25, 1967 master version included as
part of Axis: Bold As Love, the arrangement of
“Little Wing” underwent a dramatic transformation.
Jimi’s creative vision had obviously not been
fulfilled, as the muscular intensity of this
instrumental version was carefully re-examined.
Reborn as a gentle ballad, Jimi tastefully
underscored his Leslie drenched guitar work with
the delicate sounds of a glockenspiel. With
countless cover versions to its credit, “Little Wing”
remains one of the guitarist’s most popular
recordings.

Recorded: TTG Studios, Hollywood Ca. October 29, 1968
Producer: Jimi Hendrix
Engineer: Angel Balestier

Mixed By Eddie Kramer
Electric Lady Studios, July 9, 1997

Guitar, Vocals: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchel4

Previously Unreleased Recording

Just two months after completing Electric Ladyland, Jimi
entered Hollywood’s TTG Studios to produce an album for
Eire Apparent, an Irish rock group also represented by his
manager Michael Jeffery. Soon after his arrival, however, the
lure of recording his own songs proved too tempting and the
Experience initiated work on material intended for their fourth
studio album.

The ferocious “Here He Comes”, better known as “Lover
Man”, drew its roots from B.B. King’s classic slow blues
“Rock Me Baby”. The Experience had regularly performed
uptempo renditions based on the “Rock Me Baby” theme, but
in early 1968, the song began to evolve into Hendrix’s own
“Lover Man”, complete with new, original lyrics.

Cut live at TTG’s basement studio B, Hendrix opened the
session by creating an extended introduction which was
marked as take one. This spirited solo section was later
joined to the front of take four, the best of the six takes
recorded. No further work was attempted, as the Experience
next turned their attention to recording a rendition of Van
Morrison’s “Gloria”.

Because the original Experience never completed a sequel to
Electric Ladyland before their break-up in June 1969,
extraordinary tracks such as “Here He Comes” and “Look Over
Yonder” were relegated to the tape library. Despite its
unreleased status, “Here He Comes [Lover Man]’’ remained a
Hendrix stage favorite. Each subsequent band Hendrix fronted-
from his expanded Woodstock ensemble Gypsy Sun & Rainbows,
to the Band Of Gypsys, and finally the reformed Experience-
performed spirited renditions of the song in concert.

Recorded: Record Plant, New York, May 2, June 14, 1968
Producer.- Jimi Hendrix
Engineer: Eddie Kramer

Mixed By Eddie Kramer and John Seymour
Electric Lady Studios, July 11, 1997

As impressive an achievement as Electric Ladyland represented, had the Experience
not been burdened with an oppressive schedule of personal appearances during the
album’s creation, one can only guess at what Jimi might have accomplished.

While blues formed Jimi’s musical core, his admiration for jazz pioneers like
Burrell and Wes Montgomery took form in songs such as “Rainy Day, Dream Away".
With "South Saturn Delta", Jimi not only sought to pay homage to jazz, but also to
successfully integrate horns into his sound. The origins of the song span back to
1967 and sessions for Axis: Bold As Love. There, the Experience made several
attempts to shape the basic rhythm pattern Jimi had devised.

Work on the song revived when production for Electric Eadyland shifted to New
York’s Record Plant. In late April, Hendrix cut an unadorned solo dem
clearly documented his progress to date. On May 2, 1968 Hendrix guided
and Redding back to the song in the midst of a spirited jam session which
of a failed take of “Three Little Bears".

With a basic track now in hand, noted jazz arranger Larry Fallon was contracted
work with Jimi on a horn arrangement for the song. For the June 14 session, Fallon
hired four top New York jazz session players [whose names have escaped the
memories of both Fallon and engineer Eddie Kramer] and sat them in a circle
around the guitarist. For added effect, Jimi recorded his lead guitar overdub live
along with the horn section, playing a Les Paul Junior guitar fed through a
Fender amplifier.

While Jimi voiced plans to collaborate with such respected jazz figures as Al Bro\*„.,
Gil Evans, and Miles Davis, his death came before any of these ambitious projects
were ever realized. As a window to what might have been, “South Saturn Delta”
stands as one of Jimi’s first, fascinating steps toward the blending of rock, rhythm
and blues, and jazz.

Guitar, Bass: Jimi Hendrix
Drums: Mitch Mitchell

PERCUSSION: LARRY FAUCETTE

Horn Section: Unknown

Horns Arranged By Larry Fallon

Previously Unreleased Alternate Mix

Previously Unreleased Recording

Previously Unreleased Alternate Version

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Recorded: Record Plant, New York, January 21, February 3, 1970
Electric Lady, August 22, 1970
Producer: Jimi Hendrix
Engineer: Bob Hughes [Record Plant]

Eddie Kramer [Electric Lady Studios]

Mixed By Eddie Kramer

Electric Lady Studios, July 16, 1997

Guitar, Vocals: Jimi Hendrix
Bass: Billy Cox

Drums, Percussion: Buddy Miles

Backing Vocals: Jimi Hendrix, Billy Cox, Buddy Miles

Recorded three weeks after the group’s legendary Fillmore East
concerts, the Band Of Gypsys meticulously crafted this
prototypical illustration of sophisticated funk.

Hendrix would revisit the track on February 3, 1970, overdubbing
guitar parts and creating a rough mix. At that stage, work on
“Power Of Soul” drew to a close. Hendrix instead chose to feature a live version of the song as part of Band l
Of Gypsys, issued in March 1970.

The January/February 1970 studio recording of “Power Of Soul" was shelved until the marathon mixing
sessions Hendrix staged at Electric Lady Studios in August 1970. As Jimi reviewed the many contenders for
his projected double album First Rays Of The New Rising Sun, “Power Of Soul” was treated to a new rough
mix, resulting in the unique delay effect heard during the song’s opening.

Because “Power Of Soul" had been featured on Band Of Gypsys, Jimi had not reserved a position for the song 1111
on First Rays Of The New Rising Sun. Although considered for The Cry Of Love, the first posthumous album ||
of Jimi’s unissued studio material, “Power Of Soul" remained unavailable until a truncated version was Wm
overhauled and included as part of the controversial 1975 compilation Crash Landing. Inexplicably, the Wi
original master was edited and remixed to accommodate overdubs recorded in 1974 by session percussionist 'MM
Jimmy Maeulen. Lasting only 3:15 and retitled “With The Power”, the elaborate introduction and its two ||M
soaring lead guitar solos were scrapped.

The version featured on this compilation discards the posthumous additions, restoring the full length version
with all of its regal glory intact.

Recorded: Hit Factory, New York, August 28, 1969
Producer: Jimi Hendrix
-Engineer: Eddie Kramer

Mixed By Eddie Kramer

Electric Lady Studios, July 11, 1997

Much had changed in the life and career of Jimi Hendrix when he
entered the Hit Factory, the New York studio owned by songwriter Jerry
Ragavoy in late August 1969. When the original Experience disbanded
in June, Hendrix spent much of the summer residing in Shokan, N.Y., a
rural, upstate village near Woodstock. Over that time, Hendrix rounded
a number of promising new songs into form. These new works developed at his summer retreat showcased the
emerging shift in his musical direction. New compositions such as “Message To The Universe" were more serious in
tone and often autobiographical. Now fronting Gypsy Sun & Rainbows, the expanded ensemble which had supported
him at Woodstock, Hendrix was eager to make use of the second guitar and additional percussion the new group
provided.

Jimi opened these important Hit Factory sessions with “Message To The Universe". Though listed as take three, this
South Saturn Delta selection was the first complete take captured live on tape. The group had performed the song as
part of its Woodstock Festival set, but this arrangement differed substantially, most notably by the Arabic figures Jimi
wove into his dramatic closing lead guitar work. Despite the rousing drum and guitar finish he and Mitch Mitchell
had spontaneously created, by the very next take, Jimi had returned to the ascending series of notes which he and
bassist Billy Cox performed in unison to serve as the song’s crescendo.

Over the next few months, “Message To The Universe" would evolve into “Message To Love". A version performed by
the Band Of Gypsys at the Fillmore East on 1/1/70 would later be issued as part of 1970’s Band Of Gypsys.

Guitar, Vocals: Jimi Hendrix
Bass: Billy Cox
Drums: Mitch Mitchell
Percussion: Juma Sultan, Jerry Velez
Rhythm Guitar: Larry Lee

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Recorded: Olympic Studios, London, January 26, 28, 1968
Record Plant, New York, May 1, 1968
Producer: Chas Chandler
Engineer: Eddie Kramer

Mixed By Eddie Kramer and John Jansen
Electric Lady Studios, January 26, 1972

Guitar: Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell

Originally issued as part of War Heroes.

Written by Bo Hansson and Jan Carlsson, “Tax Free”
was recorded at the outset of sessions for Electric
Ladyland. Despite its relative obscurity, the Experience
discovered the song during an earlier tour of Sweden.
Hendrix, in particular, relished the song’s freewheeling
arrangement and intricate time changes.

Under Chas Chandler’s direction, the Experience
recorded the basic track for “Tax Free” at Olympic
Studios on January 26, 1968. Additional work was
completed two days later, including the recording of the
distinctive rhythm guitar part fed through a Leslie organ
speaker, but the song was not yet complete. When
production for Electric Ladyland shifted to the Record
Plant, work on “Tax Free” continued. On May 1, 1968,
Jimi finally turned the corner, enhancing the final
master via a series of guitar overdubs.

Though “Tax Free” was not included as part of
Electric Ladyland, the group often performed the song
during their 1969 American and European tours.
Eddie Kramer, the original engineer on both the
Olympic and Record Plant session dates, would later
remix the song with John Jansen in January 1972 so
that it would be included as part of the posthumous
compilation War Heroes.

Recorded.- Olympic Studios, London, January 21, 26, 1968
PRODUCER: CHAS CHANDLER
Engineer: Eddie Kramer

Guitar, Bass, Vocals: Jimi Hendrix
Twelve-String Guitar: Dave Mason
Drums: Mitch Mitchell
Percussion: Brian Jones

Previously Unreleased Alternate Mix.

Joined by Traffic’s Dave Mason and Rolling Stones guitarist Brian Jones,
the Experience gathered at Olympic Studios on January 21, 1968 to try
‘ their hand at Bob Dylan’s “All Along The Watchtower.”

1 A disagreement between Hendrix and bassist Noel Redding, however,
caused the bassist to leave the studio, leaving Hendrix and Mason on
acoustic guitars and Mitchell on drums to begin recording the song’s basic
track. Brian Jones initially began on piano, but after a few unsuccessful
attempts, Jimi elected not to include the instrument. According to Mitch
Mitchell, Jones then gravitated to percussion. Without Redding available,
Hendrix overdubbed the bass part using a small custom guitar Rolling
Stones bassist Bill Wyman had given Andy Johns, the assistant engineer on
the session.

Five days later, Chandler and Hendrix returned to Olympic to prepare a final
mix. That master, included on this compilation, was carried forward to New
York when production for Electric Ladyland moved to the Record Plant.
Shortly after Chandler had stepped down as producer of the double album in
May 1968, Hendrix began to have second thoughts about the Olympic mix.
The original four-track Olympic recording was transferred to the Record
Plant’s twelve-track tape format so that new overdubs could be
| accommodated. Jimi then made a series of refinements, tinkering with the
| recording until it met with his satisfaction.

A comparison of this recording with the version later included as part of
Electric Ladyland reveals some of the differences in production style which
existed between Hendrix and Chandler. As a member of the Animals, Chandler
had enjoyed a long string of successful chart singles and founded his
production technique firmly upon conventional pop structure. His effective
profiling of melody and a strong hook had been a major factor in the UK chart
success enjoyed by such previous Hendrix singles as “Purple Haze” and “The
Wind Cries Mary". Jimi thrived within these boundaries, always pushing to
expand the barriers of what had already been commercially established.

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Recorded: Mayfair Studios, New York, July 19, 1967
Producer: Chas Chandler
Engineer: Gary Kellgren

Mixed By Eddie Kramer and John Jansen
Electric Lady Studios, January 27, 1972

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Recorded: Olmstead Studios, New York, April 1,3, 1969
Producer: Jimi Hendrix
Engineer: Eddie Kramer

Guitar, Vocals: Jimi Hendrix
Drums: Mitch Mitchell
Bass: Noel Redding

Backing Vocals: Jimi Hendrix, Mitch Mitchell, Noel Redding
Originally issued as part of Loose Ends.

Perhaps the most outlandish of all of Jimi’s studio
recordings, “The Stars That Play With Laughing Sam’s
Dice” is laced with his searing guitar work and unique
humor. Recorded at New York’s Mayfair Studios shortly
after the Experience’s triumphant US debut at the
Monterey Pop Festival in June 1967, the sessions for both
“Burning Of The Midnight Lamp” and “The Stars That Play
With Laughing Sam’s Dice” were among the group's first to
utilize eight-track technology. Apart from its whimsical
lyrics, the song’s most prominent characteristics were the
sounds Jimi obtained from stomping on customized tone
pedals designed by Roger Mayer, a London based
electronics maven. Mayer, who befriended Hendrix shortly
after his arrival in London, was famed for the creation of
such devices as the Octavia, a tone pedal which allowed
Hendrix to jump octaves on the guitar with a simple flip of
a switch.

Originally issued as the B-side of the 1967 Track
Records UK “Burning Of The Midnight Lamp” single,
“The Stars That Play With Laughing Sam’s Dice” was
later added to the 1968 UK compilation Smash Hits.
The version included here was remixed by Eddie Kramer
and John Jansen in January 1972. It would later be
featured on the 1973 compilation Loose Ends , which has
never been released in America.

Mixed By Eddie Kramer and John Jansen
Electric Lady Studios, January 28, 1972

Guitar : Jimi Hendrix
Bass: Noel Redding
Drums: Mitch Mitchell

Originally issued as part of War Heroes.

Following a difficult and unproductive series of
sessions at Olympic Studios in February 1969, the
Experience did not return to the recording studio as a
unit until April, when they gathered at New York’s
Olmstead Studios to try and recapture their
momentum.

One of the most promising songs to emerge from these
early April 1969 sessions was the extended
instrumental “Midnight". Jimi had originally
designated “Midnight Lightning” as the song’s title,
before it was shortened simply to “Midnight”.
“Midnight”, like “Tax Free", was hardly the result of
an impromptu jam session. Instead, the Experience
devoted considerable time to establishing the song’s
intricate rhythm pattern. With that properly
established, Hendrix carefully labored over a series of
inspired lead guitar lines.

The break-up of the Experience in June 1969
relegated “Midnight” to the sidelines, where it joined a
growing stockpile of original material the group had
earmarked for their fourth album. As a result,
"Midnight” would remain unreleased until it was
mixed and put forward as part of the posthumous
compilation War Heroes in 1972.

Just two weeks after the final mixes for Axis: Bold As Love
had been achieved, Jimi returned to Olympic Studios to
record “Sweet Angel”, a new song he had in development,

Working independently, Jimi crafted an elaborate four-track g-
demo, beautifully capturing the essence of his new song. 2
To maintain the song’s tempo, Hendrix recorded his bass ^
and guitar parts to a primitive drum machine, essentially a flj
simple metronome provided by an electronic keyboard.

As his success afforded him more funds to pay for studio
time, Hendrix increasingly began to incorporate the studio !
into his writing technique. This practice became an j
obsession, as evidenced by the extraordinary number of j
tapes which have surfaced since his death in September
1970.

Inexplicably, despite its obvious potential, Jimi did not put
“Sweet Angel” forward for consideration as part of Electric
Ladyland. Instead, “Sweet Angel” would lie dormant for
nearly two-and-a-half years until the guitarist revived the song
as “Angel" at Electric Lady Studios on July 23, 1970. !
Working with Mitch Mitchell and Billy Cox, Jimi altered the !
song’s arrangement to better reflect his cherished R&B roots.
First issued as part of 197 l’s The Cry Of Love, "Angel” is
now featured on First Rays Of The New Rising Sun.

Unfortunately, the very beginning of the sole surviving
master tape has been slightly damaged. Retrieved from the §
only known source, “Sweet Angel” begins with the
performance already in progress.

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12.

Recorded: Record Plant, New York, March 24, 1970

Electric Lady Studios, New York, June, 1970
Producer: Jimi Hendrix
Engineer: Jack Adams [Record Plant]

Eddie Kramer [Electric Lady]

Mixed By Eddie Kramer and John Jansen
Electric Lady Studios, March 11, 1971

classic in its original form. Yet, beginning with the
April 1969 Olmstead Studios sessions, Jimi began
to tinker with the song’s structure, modifying its
elements until he had reinvented it as his own.
Hendrix maintained the song’s blues heritage, but
altered the arrangement to accommodate new,
original lyrics and a faster tempo.

With Electric Lady Studios still under construction
and unavailable to him, Hendrix entered the Record
Plant on March 24, 1970 and captured the basic
track for “Bleeding Heart” with the last of four
inspired takes.

Like “Room Full Of Mirrors", "Bleeding Heart”
began as a twelve-bar blues before evolving as an
uptempo Hendrix original.

As Jimi had transformed B.B. King's “Rock Me
Baby” into his own “Lover Man”, “Bleeding Heart”
was modeled first on the original recording by the
legendary slide guitarist Elmore James. Both the
Experience and Band Of Gypsys performed
exceptional stage interpretations of the blues

Like “Ezy Ryder”, "Stepping Stone”, "Izabella” and
many other Record Plant recordings from this
period, the master reel for “Bleeding Heart" would
be transferred to Electric Lady in May 1970.
Additional guitar parts would be overdubbed at the
new facility and Mitch Mitchell replaced the existing
percussion tracks with new drum parts. A rough
mix by Hendrix and Kramer encompassing these
improvements was made before the guitarist’s
death, but no final master was achieved.

Recorded: Olympic Studios, London, November 13, 1967
Producer: Chas Chandler
Engineer: Eddie Kramer

Guitar, Bass, Vocals: Jimi Hendrix

Previously Unreleased Recording

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Recorded: Electric Lady Studios, New York, July 1, 1970
Producer: Jimi Hendrix
Engineer: Eddie Kramer L,-

Mixed By Eddie Kramer and John Jansen
Electric Lady Studios, May 12, 1971

Guitar: Jimi Hendrix
Bass: Billy Cox
Drums: Mitch Mitchell
Percussion: Juma Sultan

Originally issued as part of Rainbow Bridge.

Recorded on what was perhaps his most productive night at Electric Lady
Studios, “Pali Gap" originally began as the instrumental jam immediately
following the master take of “Dolly Dagger."

Originally marked on the tape box as “Slow Part”, “Pali Gap" actually
began as the recording of the basic track for “Dolly Dagger” drew to a
close. “As ‘Dolly Dagger’ began to come apart,” explains Eddie Kramer,
“Billy Cox started playing the bass line to ‘Gimme Some Lovin’,’ the
Spencer Davis Group song, and that developed into a jam lasting nearly
ten minutes."

Nearly three minutes into the jam, Hendrix shifted gears into “Pali Gap”
and the group fell in behind in full stride. “When the jam started, Jimi
was just [messing] around," remembers Kramer. "The tone he was using
was just his quiet jam tone, with the amplifier turned down some, and not
the full-bore Marshall sound he had used to cut the basic track for ‘Dolly
Dagger’. Afterwards, he overdubbed a second guitar and new solo, with
the Marshall back at full volume. He did these with the Uni-Vibe, as well
as a Leslie at the end.”

While Hendrix never officially named this recording, the title “Pali Gap”
was coined after the guitarist’s death by his manager, Michael Jeffery. One
of the producers of the ill-fated hippie docudrama Rainbow Bridge, Jeffery
hoped the new title “Pali Gap” would further wed the song to the movie’s
Hawaiian locale. An edited version of the instrumental was issued as part
of the 1971 Rainbow Bridge film and its accompanying soundtrack album.

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Unlike the track posthumously mixed by John Jansen and included as part of
Loose Ends, this version of “Drifter’s Escape” was mixed by Hendrix and Kramer
during the lengthy overdub and mixing sessions staged at Electric Lady in the
days prior to the guitarist’s departure for the August 1970 Isle Of Wight Festival
in England.

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Recorded: Electric Lady Studios, New York, June 17, July 19, 20, August 22, 1970
Producer: Jimi Hendrix
Engineer: Eddie Kramer

Mixed By Jimi Hendrix and Eddie Kramer
Electric Lady Studios, August 22, 1970

Guitar, Vocals: Jimi Hendrix
Bass: Billy Cox
Drums: Mitch Mitchell
Percussion: Juma Sultan

Previously Unreleased Alternate Version.

The last of several inspired interpretations of Bob Dylan’s
catalog by Jimi, "Drifter’s Escape’’ ranked as a strong contender
for First Rays Of The New Rising Sun. The song’s basic track was
achieved during an enthusiastic June 17, 1970 session. Hendrix was
intent on perfecting a series of lead guitlr overdubs before the song
would be deemed complete, this master features additional guitar parts
recorded on July 19 and 20 as Jimi made a number of attempts to try and
realize a specific sound and tone for his lead guitar.

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Recorded: Record Plant, New York, March 23, 1970
Producer: Jimi Hendrix
J Engineer: Jack Adams

:sf Mixed By Eddie Kramf.r
I % Electric Lady Studios, Julx, 10, 1997

Guitar, Vocals* Jimi Hendrix
Previously Unseleased Recording

Working alone, Jimi arrived at the Record Plant intent on
realizing at more traditional Delta blues arrangement of “Midnight
Lightning” than he had previously attempted. Singing and
playing live as he sat on a chair, Jimi utilized a finger picking
style he rarely incorporated on his recordings. The song’s slow
beat was accented, in the tradition of such bluesmen as Lightnin’
Hopkins and John Lee Hooker, by the steady tapping of his foot
on the floor.

One of his favorite blues themes, Jimi would later make several
attempts to complete a group version with Cox and Mitchell that
summer at Electric Lady. Sadly, his untimely death in
September 1970 came before “Midnight Lightning” and many
other scintillating works in progress could be completed.

Compilation Produced By Janie Hendrix, Eddie Kramer. & John McDermott for Experience Hendrix L.L.C.

Original Sound Recordings Produced By Jimi Hendrix except

2. 7, 8. 9. 11 Produced by Chas Chandler.

3, 13 Produced by Jimi Hendrix, Eddie Kramer, Mitch Mitchell, & John Jansen.

10. 12 Produced by Jimi Hendrix, Eddie Kramer, & John Jansen.

All songs written by Jimi Hendrix and published by Experience Hendrix, L.L.C. (ASCAP) except

"Tax Free" by Bo Ingvar Hansson and Jan Hugo Carlsson

"All Along The Watchtower" and "Drifter's Escape" by Bob Dylan

Remastered by Eddie Kramer & George Marino

Sterling Sound. New York

Remastering Supervision by Janie Hendrix and John McDermott for Experience Hendrix, L.L.C.

Essay by John McDermott
Design by Smay Vision

Cover photo by Ed Thrasher/Michael Ochs Archives
Inside Inlay photo by Larry Hulst/Michael Ochs Archives

Booklet photography: Linda McCartney/Star File (pg 2-3, 20-21), Authentic Hendrix LLC (pg 4, 11), Eddie Kramer (pg 6-7),

Jan Blom/Authentic Hendrix LLC (pg 8-9), Ray Stevenson/Retna (pg 9, 12-13), Retna (pg 10), Michael Putland/Retna (pg 15),

King Collection/Retna (pg 16), John Pollock (pg 17), Peter Smith/Retna (pg 18), George Shuba (pg 19), Baron Wolman (pg 23),
Redferns/Retna (pg 24).

Pre-Production and Tape Research Coordination "by Troy E. Wright

Pre-Production At Alpha Studios, Burbank

Engineer: Denny Shaw

Mixed At Electric Lady Studios, New York

June-July 1997

Engineer: John Seymour

Special Thanks To: Our Almighty God who brought us through, and continues to guide us.

The Experience Hendrix family, my home away from home and lifeline, I can’t do it without you.

Dad, your eternal wisdom helps us to keep on keepin' on.

Troy, your love & support has been like a beacon.

Austin, Quinntin, Claytin & Langstin thank you for all the hugs & kisses.

Bob, my partner in crime, thanks for being there.

Amanda, my girl, my confidante, & my right arm.

Willie, Marsha, Linda, Leon, Donna, Diane & Henri.

John. ..Bad Hat Productions.

Eddie. ..One notch above 10.

The MCA family & partners: Zach Horowitz, Jay Boberg, Andy McKaie, Jim Dobbe, Jennifer Ballantyne, Bruce Resnikoff,

Vartan Kurjian, Jayne Simon, Doug Morris, Mel Lewinter, Julian Huntly, Meir Malinsky, Karen Goodman, & Eamon Sherlock.
Special thanks to-. Reed Wasson, Peter Shukat, Jonas Herbsman, Electric Lady Studios, Mary Campbell, Shaggy Dog Studios,
Chuck White, Jonathan Rick, Jack Hardington, Neil Aspess, Sterling Sound, Alex Kydd, Jeff Anthony, April Newman, Kova,

Barbie D., Madeleine Chandler, Steffan Chandler, Mitch Mitchell, Noel Redding, Billy Cox, & Buddy Miles.

Jimi, thank you for giving us the most special gift of all, the music within you. We cherish every note and lyric. We miss you very
much and wish you were here to share it all with us..

For more information about Jimi Hendrix please write: Experience Hendrix PO Box 4130 Seattle, Washington 98104
or visit us on the World Wide Web at: Experience Hendrix Interactive http://www.jimi-hendrix.com
If you would like to purchase Authentic Jimi Hendrix merchandise CALL: 1-888-EXP-JIMI